Bringing together contributors from dance, theatre, visual studies, and art history, Perform, Repeat, Record addresses the conundrum of how live art is positioned within history. Set apart from other art forms in that it may never be performed in precisely the same way twice, ephemeral artwork exists both at the time of its staging and long after in the memories of its spectators and their testimonies, as well as in material objects, visual media, and text, all of which offer new critical possibilities. Among the artists, theorists, and historians who contributed to this volume are Marina Abramović, Guillermo Gómez-Peña, Rebecca Schneider, Boris Groys, Jane Blocker, Carolee Schneemann, Tehching Hsieh, Orlan, Tilda Swinton, and Jean-Luc Nancy.

To read the rest of the review in New Theatre Quarterlyclick here to download a pdf of the review.

To read the rest of the review in The Drama Reviewclick here to download a pdf of the review.

To read the rest of the review in A Journal of Performance and Artclick here to download a pdf of the review.

To read the rest of the review in Drama and Performance Studiesclick here to download a pdf of the review.

To read the rest of the review in Liminaclick here to download a pdf of the review.

Reviews

'A work of art can never be produced the same way twice. ... this concern ... continues to provoke a multitude of questions and opinions regarding how works should be documented and re-created. ... [Jones and Heathfield] address these concerns in relation to performance art, body art, and live art; simultaneously, they construct a history of these broad artistic fields.' – Caylin Smith, Moving Image Archive News

'The breadth and depth of Perform, Repeat, Record are astonishing and the range of artists, scholars and insights invigorating ... It leaves me overwhelmed.' – Caroline Wake, RealTime Arts

'An impressive collaboration between two of the field's most dedicated scholars.' – Lisa Newman, Artillery

'This is a weighty text in all senses of the term' – New Theatre Quarterly, Chris Gilligan

'In its exhaustive presentation of different types of performances, documentation, and critical approaches, it suggests a way of reading performance that is no longer beholden to modernist notions of transgression, transformation, and the avant-garde.' – A Journal of Performance and Art, Jennie Klein

'Perform, Repeat, Record collects a wealth of insights, artifacts, and exchanges germane to pressing issues at the nexus of performance and historiography. Scholars will find it essential to navigating emerging currents of thought at the dynamic intersection of visual arts and performance studies, and it will serve as a useful supplement for courses on performance art.' – The Drama Review, Pannill Camp

'Taken as a whole, then, 'Perform, Repeat, Record' embraces the mammoth task of challenging how history making occurs within this field of contemporary art. Embracing a diverse and unconventional range of responses to the provocation ‘How does live art get remembered?’, it has implications for the broader field of historical discourse' – Limina, Janet Carter